The tracks on the album are heavily influenced by Ornette Coleman and Bill Evans, Jarrett having long been an admirer of both, Haden having played with Coleman and Motian having played with Evans.
LINER NOTES OF THE ORIGINAL 1968 ISSUE About the music: (by Keith Jarrett) I have been asked to say something about the music in this album.
I would like very much to do so; however, if there were words to express it, there would be no need for the music. I can speak for Paul, Charlie and myself on an extra-musical level (or a human one).
The music is, after all, sincere, so do not question its meaning. What you feel or experience from it is
what it is. It is no more and no less than that. The exits involved are those which everyone is capable of utilizing. I hope they can be glimpsed through our music. I must add a word about the recording session. It was done without any restrictions whatsoever on the music.
Mr. Avakian (man of many worlds) supervised the recording but not one alteration in the music was made. I am extremely grateful for this.
About the beautiful beings named Charlie Haden and Paul Motian, so much is said in the music they play that I will refrain from giving you mere externals.
Finally, I would like to dedicate this album to my wife, Margot, without whom (and she may not know it) this album could not have manifested itself.
culled from 18 countries within an 18-month time span (he has made six European tours in 1966-67 as a member of the Charles Lloyd Quartet).
But you will learn more about Keith Jarrett in just a few minutes' listening.
Listen longer, and you'll keep discovering new things all the time in every aspect of his playing – not just the externals of a prodigious imagination and technique which includes plucking, strumming and using every sound resource of the piano in a manner that would have brought joy to the late Henry Cowell, the man who first explored the possibilities of the instrument beyond its keyboard, some sixty years ago. A student of classical piano since he was big enough to sit on a piano stool, Keith Jarrett became a composition student at 15 and gave a full-scale recital of his own works at 16. After
graduating from the Berklee School of Music, he formed his own trio in Boston, played briefly with Roland Kirk and Art Blakey's Jazz Messengers, and joined the Charles Lloyd Quartet at the age of twenty in February, 1966. The story of the Quartet's successes from San Francisco to Moscow and back again is also, of course, part of Keith Jarrett's story as well. Charlie Haden, the bassist in this recording, is a musician who accomplished the startling switch from country music, which he played in his native Ozarks, to prominence as a member of the original Ornette Coleman Trio which exploded on the jazz scene in the middle fifties. After a long sojourn on the West Coast, he has returned to the Coleman group, which has now been expanded into a quartet.
Paul Motian, best known for his long association with the Bill Evans Trio, is one of the most sensitive drummers in jazz.
Virtually his entire career has been spent with small groups, where the delicate nuances of sound which he draws from his instruments have won him a unique position of respect.